文學(xué)旳象徵主義

SymbolisminLiterature董崇選中山醫(yī)大應(yīng)用外語系教授「懂更懂學(xué)習(xí)英文網(wǎng)站」負(fù)責(zé)人I.何謂Symbol?Anobject,animateorinanimate,thatrepresentssomethingelse.代表他物者Scales(天秤)symbolizesjustice(公正).Adove(鴿子)standsforpeace(和平).Theclenchedfist(握拳):aggression(侵略)Words,spokenorwritten,areallsymbols.

Asymbolcanbepublicorprivate,universalorlocal.Arose(玫瑰)asabeauty(美人)ispublicanduniversal.Stars(星星)asreasonisprivateandlocal.(Blake)I.何謂Symbol?Asymbolinvolvescomparisonlikesimileormetaphor.Thelily(百合花)vs.purity(清純):white&cleanAsymbolisnotsodefiniteinmeaningasanallegory.Christian(基督徒)passesthroughtheSloughofDespond(沮喪之沼澤)andVanityFair(虛榮市集)andarrivesattheCelestialCity(天國之城).

--AllegoryinBunyan’sPilgrim’sProgress.

Gregorfindshimselfturnedintoabigcockroach(蟑螂).

--SymbolinKafka’sMetamorphosis.II.SymbolismasaMovement:

Primarilyinliterature(esp.,poetry),alsoinotherarts.(見畫)BeginninginFranceinthelatterpartofthe19thC.AmovementagainstRealismandNaturalism.反寫實(shí)Moréas’smanifesto:“l(fā)eSymbolisme”

Toclothetheideainperceptibleform.以可覺知旳形式衣著觀念。“TheDeathoftheGravedigger”bySchwabeKhnopff’s“TheCaress”II.SymbolismasaMovement:

InfluencedbySwedenborg’stheoryofcorrespondences(對應(yīng)論)andSchopenhauer’spessimisticaesthetics(悲觀美學(xué)).Therearecorrespondencesbetweenthenatural(physical),thespiritual,andthedivineworlds.WeareeverlivingwithsufferingsundertheWill-to-life,andArtservesasacontemplativerefuge(思想旳庇護(hù))fromtheworldofWill.III.KeyIdeasofSymbolism:Usingconcreteimages(具象)assymbols(象徵)toexpressanemotionoranabstractidea,torepresentanidealworld,ortosuggestanotherplaneofreality(實(shí)體面).Thepoetisakindofseer(先知)orvoyant(先覺)whocouldseethroughandbeyondtherealworldtotheworldofidealformsandessences.Usingthemethodofsuggestion(提醒)toevoke(喚起)hiddenmeanings.III.KeyIdeasofSymbolism:Theworldofessencesisaworldofsynesthesia(fusionofsensations,共感).Toachievepurepoetry(純粹詩)throughwordrelationships:musicalquality(言樂性),imageclusters(意象群),logicalandpsychologicalassociations(聯(lián)想).Thebestformisfreeverse(verslibres自由詩),or“prosepoem”(散文詩).IV.某些名言:“Thesunitselfisthedarksimulacrum(影像),andlightistheshadowofGod.”

--SirThomasBrown

“Symbolismistheartofevokinganobjectlittlebylittlesoastorevealamood(心境)”or,conversely,“theartofchoosinganobjectandextractingfromitanétat

d’ame.(心境).”

--MallarméIV.某些名言:“Theonlywayofexpressingemotionintheformofartisbyfindingan‘objectivecorrelative’(相關(guān)客體);inotherwords,asetofobjects,asituation,achainofeventswhichshallbetheformulaofthatparticularemotion;suchthatwhentheexternalfacts,whichmustterminateinsensoryexperience,aregiven,theemotionisimmediatelyevoked.”--T.S.Eliot「門前遲行跡，一一生綠苔；苔深不能掃，

落葉秋風(fēng)早。八月蝴蝶黃，雙飛西園草?！?/p>

李白〈長干行〉V.主要作家作品：Baudelaire:TheFlowersofEvil

波德萊(《惡之華》)〈對應(yīng)〉“Correspondences”〈鬱卒78〉“SpleenLXXVIII”

“Windows”(prosepoem)Mallarmé:Rimbaud:Verlaine:Correspondences

NatureisatemplewhoselivingcolonnadesBreatheforthamysticspeechinfitfulsighs;ManwandersamongsymbolsinthosegladesWhereallthingswatchhimwithfamiliareyes.

LikedwindlingechoesgatheredfarawayIntoadeepandthrongingunisonHugeasthenightorasthelightofday,Allscentsandsoundsandcolorsmeetasone.

Perfumesthereareassweetastheoboe’ssound,Greenastheprairies,freshasachild’scaress,--Andthereareothers,rich,corrupt,profound

Andofaninfinitepervasiveness,Likemyrrh,ormusk,oramber,thatexciteTheecstasiesofsense,thesoul’sdelight.

SpleenLXXVIII鬱卒OldPluvius,monthofrains,inpeevishmood冬雨倒冷甕Poursfromhisurnchillwinter’ssoddengloom墳屍消退中Oncorpsesfadingintheneargraveyard,乖戾陰霾下Onfoggysuburbspourslife’stedium.郊霧生長冗

Mycatseeksoutalitteronthestones,孤貓露疥癬Hermangybodyturningwithoutrest.覓窩青瓦片Anancientpoet’ssoulinmonotones詩人長凍瘡Whinesintherain-spoutslikeachilblainedghost.獨(dú)吟雨管間Agreatbellmourns,awetlogwrappedinsmoke樓鐘悲嗚燃溼木Singsinfalsettotothewheezingclock,壁鐘感冒猛嘀咕W(wǎng)hilefromaranklyperfumeddeckofcards發(fā)臭香牌煙幕裡(Adropsicaloldcrone’sfatalbequest)水腫老嫗遺留物TheQueenofSpades,thedapperJackofHearts黑桃紅心后與魔Speakdarklyofdeadloves,howtheywerelost.死情暗處猶傾訴

Windows

Lookingfromoutsideintoanopenwindowoneneverseesasmuchaswhenonelooksthroughaclosedwindow.Thereisnothingmoreprofound,moremysterious,morepregnant,moreinsidious,moredazzlingthanawindowlightedbyasinglecandle.Whatonecanseeoutinthesunlightisalwayslessinterestingthanwhatgoesonbehindawindowpane.Inthatblackorluminoussquarelifelives,lifedreams,lifesuffers.

AcrosstheoceanofroofsIcanseeamiddle-agedwoman,herfacealreadylined,whoisforeverbendingoversomethingandwhonevergoesout.Outofherface,herdress,andhergestures,outofpracticallynothingatall,Ihavemadeupthiswoman’sstory,orratherlegend,andsometimesItellittomyselfandweep.IfithadbeenanoldmanIcouldhavemadeuphisjustaswell.AndIgotobedproudtohavelivedandtohavesufferedinsomeonebesidesmyself.

Perhapsyouwillsay“Areyousurethatyourstoryisthereal

one?”Butwhatdoesitmatterwhatrealityisoutsidemyself,solongasithashelpedmetolive,tofeelthatIam,andwhatIam?VI.InfluencesofSymbolism:

Maeterlinck:plays

Proust:novel(RemembranceofThingsPast)

Yeats: